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Marley Shelton

Wes Craven Returns to Form With Entertaining ‘Scre4m’

HollywoodChicago.com Oscarman rating: 3.5/5.0
Rating: 3.5/5.0

CHICAGO – Wes Craven’s legendary franchise returns this weekend with a decade since its last installment and to a genre that has been almost entirely bereft of creativity since its director started to lose his prominence as one of its best. Can “Scre4m” rejuvenate the slasher genre like the first film did or will it fall victim to the rule that horror sequels almost always suck?

‘Elektra Luxx’ Offers Middling Showcase For Carla Gugino

HollywoodChicago.com Oscarman rating: 2.0/5.0
Rating: 2.0/5.0

CHICAGO – Sebastian Gutierrez is the sort of filmmaker who thrives best on the festival circuit. His work is just quirky and distinctive enough to garner overenthusiastic praise from jaded festival goers in the mood for markedly lighter fare. Yet when screened out of the celebratory atmosphere at SXSW, Gutierrez’s films fail to register as anything more than mediocre trifles.

Art World Bares its Soul in Adam Goldberg’s Superlative ‘(Untitled)’

HollywoodChicago.com Oscarman rating: 5.0/5.0
Rating: 5.0/5.0

CHICAGO – One of the best and most exciting surprises of the 2009 film year is a smaller, claustrophobic film starring Adam Goldberg and set in the art gallery world of New York City. “(Untitled)” is an honest, uncompromising character study.

‘A Perfect Getaway’ With Steve Zahn, Milla Jovovich Delivers Thrills

HollywoodChicago.com Oscarman rating: 3.5/5.0
Rating: 3.5/5.0

CHICAGO – David Twohy’s “A Perfect Getaway” is a surprisingly effective thriller, featuring good-to-great performances from Milla Jovovich, Timothy Olyphant, Steve Zahn, and Kiele Sanchez, and a taut, interesting screenplay with enough twists and turns to keep the audience entertained for its scant running time.

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  • Bad Words

    Looming over “Bad Words” is the potential it could have had, as is, were it released ten years ago. With its focus of R-rated behavior poking at the projected innocence of children, along with the couple of chromosomes that keep Bateman’s Trilby from being a Vince Vaughn character, this movie is certainly a product of the comedies that have sculpted out the manchild story in the past decade.

  • Winter's Tale

    The theatrical poster for “Winter’s Tale,” after promising that “It’s not a true story, it’s a love story,” made a large demand from its viewers at the bottom: “This Valentine’s Day, Believe In Miracles.” While there is indeed a difference between filmmaking and marketing, it is hard to not imagine writer/director Akiva Goldsman whispering “believe in miracles” into the ear of every executive who helped “Winter’s Tale” come to life, immediately after throwing glitter on them.

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